The first thing to note about Eddie Izzard’s latest comedic offering, Eddie Izzard: Stripped is that the content of the show has nothing to do with its title, or if it does, only in the loosest of terms. Any member of Izzard’s recent Massey Hall audience expecting a raunchy set, or a soul bearing purge would have been surprised, but not disappointed, by the performance and the performer.
What a great concept for a play. Harry Partch was an American composer and instrument maker who, according to Wikipedia, “was one of the first twentieth-century composers to work extensively and systematically with microtonal scales, writing much of his music for custom-made instruments that he built himself, tuned in 11-limit (43-tone) just intonation”.
Linda Quibell looking for the boy; photo: Chris Randle
The strength of the 12 Minute Max showcases is in their brevity. At their best, the performances are like haiku: pointed and poetic, double-edged in their meanings. On the whole, this year's showcased were strong, and kudos must go not only to choreographers and performers, but to the curators as well, who assembled an original and entertaining line-up for 2010.
The UNO festival, by it's very nature, has its limitations; there are only two venues, and no production has more than three shows. Some shows deserve both a larger venue, and a longer run, if only to accommodate the number of people who want to see them.
In his review in the Georgia Straight, Colin Thomas describes Deborah Williams, who plays Becky in Becky’s New Car (on now at the Arts Club), as “so perfect for the role—she brings such warmth and comedic skill to it—that it feels like the part could have been written for her”. Thomas is bang on. I can’t imagine what this show would have been without Williams.
Thank God for Deborah Williams as Shirley...we mean Becky
One of the best things about both the UNO Fest (currently on at the moment) and the Victoria Fringe Festival is that it allows room for both the seasoned pros, and the up-and-comers.
Borrowing a scene from Superman, Chris Gibbs in Like Father, Like Son? Sorry (on now in Victoria as part of the Uno Fest) sweeps onstage with the plastic baby that would grow up to be Christopher Reeve. From here, he slides out of his robe and into a long reflection on his own fitness as a father. He then quickly adjusts the baby’s head so that it’s flat, unblinking, empty, lifeless, soullessly accusing blue eyes bore through the being of some unfortunate man in the front row. Gibbs is not one to let sincerity smother comedy for long.
Oldies play. Onstage is a plywood Toxbox which seems to have grown a skullet of red yarn. Following one of these threads onstage is redheaded sixth-grader Nicholas. Redheaded Stepchild begins (as part of this year's Uno Fest).
Johnnie Walker is redheaded and he wants you to know about it
